We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

It is advisable to treat some sorts of discourse about fiction with the aid of an intensional operator "in such-And-Such fiction...." the operator may appear either explicitly or tacitly. It may be analyzed in terms of similarity of worlds, As follows: "in the fiction f, A" means that a is true in those of the worlds where f is told as known fact rather than fiction that differ least from our world, Or from the belief worlds (...) of the community in which the fiction originated. (shrink)

This monograph examines truth in fiction by applying the techniques of a naturalized logic of human cognitive practices. The author structures his project around two focal questions. What would it take to write a book about truth in literary discourse with reasonable promise of getting it right? What would it take to write a book about truth in fiction as true to the facts of lived literary experience as objectivity allows? It is argued that the (...) most semantically distinctive feature of the sentences of fiction is that they are unambiguously true and false together. It is true that Sherlock Holmes lived at 221B Baker Street and also concurrently false that he did. A second distinctive feature of fiction is that the reader at large knows of this inconsistency and isn't in the least cognitively molested by it. Why, it is asked, would this be so? What would explain it? Two answers are developed. According to the no-contradiction thesis, the semantically tangled sentences of fiction are indeed logically inconsistent but not logically contradictory. According to the no-bother thesis, if the inconsistencies of fiction were contradictory, a properly contrived logic for the rational management of inconsistency would explain why readers at large are not thrown off cognitive stride by their embrace of those contradictions. As developed here, the account of fiction suggests the presence of an underlying three - or four-valued dialethic logic. The author shows this to be a mistaken impression. There are only two truth-values in his logic of fiction. The naturalized logic of Truth in Fiction jettisons some of the standard assumptions and analytical tools of contemporary philosophy, chiefly because the neurotypical linguistic and cognitive behaviour of humanity at large is at variance with them. Using the resources of a causal response epistemology in tandem with the naturalized logic, the theory produced here is data-driven, empirically sensitive, and open to a circumspect collaboration with the empirical sciences of language and cognition. (shrink)

It seems true to say that Sherlock Holmes is a detective, despite there being no Sherlock Holmes. When asked to explain this fact, philosophers of language often opt for some version of Lewis’s view that sentences like ‘Sherlock Holmes is a detective’ may be taken as abbreviations for sentences prefixed with ‘In the Sherlock Holmes stories …’. I present two problems for this view. First, I provide reason to deny that these sentences are abbreviations. In short, these sentences have aesthetic (...) properties that we should not expect of abbreviations. Second, I argue that the apparent truth of these sentences would not be explained even if they were abbreviations. An alternative is presented that avoids these problems. Following Walton, talk about fiction is viewed as a game of make-believe; following Lewis, interpretations of fiction are modelled using possible worlds. (shrink)

The paper surveys recent appraisals of David Lewis’s seminal paper on truth in fiction. It examines variations on standard criticisms of Lewis’s account, aiming to show that, if developed as Lewis suggests in his 1983 Postscript A, his proposals on the topic are—as Hanley puts it—‘as good as it gets’. Thus elaborated, Lewis’s account can resist the objections, and it offers a better picture of fictional discourse than recent resurrections of other classic works of the 1970s by Kripke, (...) van Inwagen and Searle. The turn that Lewis suggests and the paper recommends draws on the remaining outstanding contribution from that time: Walton’s. (shrink)

The problem of truth in fiction concerns how to tell whether a given proposition is true in a given fiction. Thus far, the nearly universal consensus has been that some propositions are ‘implicitly true’ in some fictions: such propositions are not expressed by any explicit statements in the relevant work, but are nevertheless held to be true in those works on the basis of some other set of criteria. I call this family of views ‘implicitism’. I argue (...) that implicitism faces serious problems, whereas the opposite view is much more plausible than has previously been thought. After mounting a limited defence of explicitism, I explore a difficult problem for the view and discuss some possible responses. (shrink)

Questions about the status of literary truth are as old as literary criticism, but they have become both more intricate and more compelling as literature has grown progressively more self-conscious and labyrinthian in its dealings with "reality." One might perhaps read The Iliad or even David Copperfield without raising such issues. But authors like Gide , Nabokov, Borges, and Robbe-Grillet seem continually to remind their readers of the complex nature of literary truth. How, for instance, are we to (...) deal with a passage like the following from William Demby's novel The Catacombs:"When I began this novel, I secretly decided that, though I would exercise a strict selection of the facts to write down, be they 'fictional' facts or 'true' facts taken from newspapers or directly observed events in my own life, once I had written something down I would neither edit not censor it ."1What does this sentence mean? When an apparently fictional narrator distinguishes between "fictional" and "true" facts, what is the status of the word "true"? It clearly does not mean the same as "fictional," for he opposes it to that term. Yet it cannot mean "true" in the sense that historians would use, for he calls what he is writing a novel, and even if he quotes accurately from newspapers, the events of a narrator's life are not "historically" true. · 1. William Demby, The Catacombs , p.93. Peter J. Rabinowitz, assistant professor at Kirkland College, is currently working on articles on Raymond Chandler, Faulkner, and Dostoyevsky and is, as well, a music critic for the Syracuse Guide. He wrote his doctoral dissertation in comparative literature on the philosophical implications of Nabokov's use of humor and terror. "Truth in Fiction" is the first article he has had published in a scholarly journal. (shrink)

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of (...) view by philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

When we engage with a work of fiction we gain knowledge about what is fictionally true in that work. Our grasp of what is true in a fiction is central to our engagement with representational works of art, and to our assessments of their merits. Of course, it is sometimes difficult to determine what is fictional – it is a good question whether the main character of American Psycho is genuinely psychotic or merely delusional, for instance. (And even (...) in this case, our ignorance itself is crucial to how we engage with the story and assess its qualities.) But in the vast majority of cases, we have no difficulty distinguishing what is fictionally true from what is not. Every attentive reader of Bleak House knows that it is fictional that Esther is Lady Dedlock’s daughter, but not fictional that Ada is the daughter of John Jarndyce. Moreover, we do not think that our judgements about what is fictional are based on guesswork. We have a folk theory of fictional truth, in the sense that we have a relatively stable framework upon which we rely when we engage with fiction, and we face the challenge of characterizing that theory systematically. (shrink)

I critically examine some recent work on the philosophy of scientific fictions, focusing on the work of Winsberg. By considering two case studies in fracture mechanics, the strip yield model and the imaginary crack method, I argue that his reliance upon the social norms associated with an element of a model forces him to remain silent whenever those norms fail to clearly match the characteristic of fictions or non-fictions. In its place, I propose a normative epistemology of fictions which clarifies (...) a model's ontological commitments when the community of scientists lack any clear, shared norms of use. Specifically, I will introduce a variational account of fictions as an extension of Laymon's monotonic improvability account of idealizations. I will conclude by connecting this variational account of fictions to didactic fictions in general. (shrink)

In her thought‐provoking article, Willis (2019) argues that video games differ from other media—with regard to fictional truth—in ways which cannot be accounted.

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 101-105, Winter 2020.

What sorts of things are the intuitions generated via thought experiment? Timothy Williamson has responded to naturalistic skeptics by arguing that thought-experiment intuitions are judgments of ordinary counterfactuals. On this view, the intuition is naturalistically innocuous, but it has a contingent content and could be known at best a posteriori. We suggest an alternative to Williamson's account, according to which we apprehend thought-experiment intuitions through our grasp on truth in fiction. On our view, intuitions like the Gettier intuition (...) are necessarily true and knowable a priori. Our view, like Williamson's, avoids naturalistic skepticism. (shrink)

A review of John Woods, Truth in Fiction: Rethinking its Logic. Cham: Springer, 2018.

This paper is a response to that of Christopher New. It argues that New has no alternative to an earlier solution I proposed to the problem of specifying the content of a fiction fails, as his solution is in terms of facts external to the game of make-believe being played, while mine was internal. It argues that understanding fiction is only a special case of understanding representation, which can be given a Gricean analysis. It proposes that the inferences (...) crucial to our understanding should be those we think reasonable of the world of the fiction. (shrink)

William D’Alessandro has recently argued that there are no implicit truths in fiction. According to the view defended by D’Alessandro, which he terms explicitism, the only truths in fiction are the ones explicitly expressed therein. In this essay, I argue that explicitism is incorrect on multiple counts. Not only is the argument D’Alessandro gives for it invalid, but explicitism as a theory of truth in fiction fails drastically to account for a number of phenomena that are (...) crucial to our understanding and interpretation of fiction, such as pragmatic implicatures and speech acts occurring in fiction, psychological profiles of fictional characters, and fictional truths determined by literary conventions. (shrink)

In this paper we propose a semantic analysis of sentences of the form "In fiction x, p" based on this picture of context. We argue that the derived contexts for sentences in the scope of "In fiction X" are determined by three factors: what the beliefs of the author are taken to be, the conventions established for the fiction, and a defeasible presumption of reliability of the narrator. We develop a formal implementation based on the notion of (...) a system of spheres centered on a set of worlds. (edited). (shrink)

According to R. Stalnaker, context plays a role in determining the proposition expressed by a sentence by providing the domain of possible worlds that propositions distinguish between: a sentence expresses a proposition by selecting a subset of the set of possible situations given by the context. This is also true for embedded sentences, but these sentences express propositions by selecting subsets out of contexts derived from the basic one. In this paper we propose a semantic analysis of sentences of the (...) form “In fiction x, p” based on this picture of context. We argue that the derived contexts for sentences in the scope of “In fiction x” are determined by three factors: what the beliefs of the author are taken to be, the conventions established for the fiction, and a defeasible presumption of reliability of the narrator. We develop a formal implementation based on the notion of a system of spheres centered on a set of worlds. (shrink)

A well-known theory about under which circumstances a statement is true in a fiction is The Reality Principle, which originate in the work of David Lewis: (RP) Where p1... pn are the primary fictional truths of a fiction F , it is true in F that q iff the following holds: were p1 ... pn the case, q would have been the case (Walton 1990: 44). RP has been subjected to a number of counterexamples, up to a point (...) where, in the words of Stacie Friend “it is widely recognized that the Reality Principle […] cannot be a universal inference rule for implied story-truths” (Friend 2017: 33). This chapter argues that the strength of these counterexamples is widely overestimated, and that they do not, on closer scrutiny, constitute reasons for rejecting RP. (shrink)

This paper provides an account of truth in interactive fiction. Interactive fiction allows the audience to make choices, resulting in many different possible fictions within each interactive fiction, unlike in literary fiction where there is just one. Adequately capturing this feature of interactive fiction requires us to address familiar issues regarding impossible fiction and the nature of time in fiction. Truth in interactive fiction thus requires a complex account to capture (...) its multitude of fictions. It is argued that a full account of truth in interactive fiction requires distinguishing two works for each interactive fiction, which contain distinct fictional truths. The actual work encompasses what is in fact represented as fictional (hence mistakes can be fictionally true in this work), whilst in the implied work, truth in fiction is governed by authorial intention, hence mistakes are not fictionally true. This dual account best captures our aesthetic evaluation of interactive fictions, for which we often need to distinguish how the work actually is from how it was intended to be. (shrink)

This article reviews John Wood’s Truth in Fiction: Rethinking its Logic.

This interview with David Kleinberg-Levin, Professor Emeritus in the Department of Philosophy at Northwestern University, concerns his recent trilogy on the promise of happiness in literary language. Kleinberg-Levin discusses the relationship between and among philosophy, phenomenology, and literature. Among others, he addresses questions regarding literature’s ability to offer redemption, its response to suffering and justice, literary gesture, the ethics of narrative logic, and the surface of the text.Cet entretien avec David Kleinberg-Levin, Professeur émérite au département de philosophie de la Northwestern (...) University, est consacrée à sa récente trilogie sur la promesse du bonheur dans le langage littéraire. Kleinberg-Levin examine les relations réciproques et internes de la philosophie, de la phénoménologie et de la littérature. Entre autres, il pose des questions sur la capacité de la littérature à offrir une rédemption, sur sa réponse à la souffrance et à la justice, sur le geste littéraire, sur l’éthique de la logique narrative et sur la surface du texte.L’intervista a David Kleinberg-Levin, Professore Emerito presso il Dipartimento di Filosofia della Northwestern University, è dedicata alla sua recente trilogia sulla promessa di felicità nel linguaggio letterario. Kleinberg-Levin esplora il rapporto tra filosofia, fenomenologia e letteratura. In particolare egli affronta le questioni che riguardano la capacità della letteratura di offrire redenzione, la sua risposta alla sofferenza e alla giustizia, il gesto letterario, l’etica della logica narrativa, e la superficie del testo. (shrink)

Abstract:Can the claim "Sherlock Holmes is a detective" be true if no object exists that has this property? Is it true that he is a fictional character and that he does not exist? My answers are based on Alexius Meinong's theory of objects. In contrast to other Meinongians, I argue that employing other possible worlds poses ontological problems and that existence is not a property of objects. Since we think of objects by means of only some, but not all, of (...) their properties, incomplete objects function as auxiliaries. Holmes can thus be both, detective and fictional character, while not existing. (shrink)

Narrative fiction has the power to unsettle our deep-seated intuitions and expectations about what it means to live an ethically good life, and the kind of society that best facilitates this. Sometimes its disruptive power is disclosive, leading to an ethically significant shift in perception. I contend that the disruptive and disclosive powers of narrative fiction constitute a potential for ethical knowledge. I construe ethical knowledge as a learning process, oriented by a concern for truth, which involves (...) the rational agency and affective engagement of an embodied human subject. For the purposes of showing this, I engage critically with Adorno’s reading of Kafka, using Kafka's story ‘In the Penal Colony’ to challenge Adorno’s analysis. (shrink)

Consider Thomas Hardy's 1895 novel, Jude the Obscure. It is true in the fiction that in spite of his humble origins, Jude Fawley aspires to a life of scholarship. It is also true in the fiction that the stonecutter sends letters to five academics expressing his desire to study at Christminster University. The only answer he receives is from T. Tetuphenay, the master of Biblioll College, who curtly advises him to abandon his scholarly ambitions. It is true in (...) the fiction that Fawley never recovers from this blow, even though Hardy's narrator does not state the point explicitly. (shrink)

The problem of internal audience is thus that no such audience exists, that the X or abstract boundary of intentionality to which we want to give the name audience cannot be described in the terms of a world in which audiences listen to utterance. For that is the world that is annihilated in our objective comprehension of the work, and the X becomes the sole reality. Yet the only terms available to us to describe the reality that is the work (...) must be taken from the only world we know, and the only escape from theoretical confusion is to see that such terms have, in their new use, a purely analogous function, that they draw on the world only as an unreal analogy of the X that is real. I'm not certain that Rabinowitz's discussion of Pale Fire is in any way central to his "four audience" theory, but I'd like to end by saying that it misses an essential point. William C. Dowling is an associate professor of English at the University of New Mexico and the author of The Boswellian Hero. (shrink)

Fiction is often characterized by way of a contrast with truth, as, for example, in the familiar couplet “Truth is always strange/ Stranger than fiction" (Byron 1824). And yet, those who would maintain that “we will always learn more about human life and human personality from novels than from scientific psychology” (Chomsky 1988: 159) hold that some truth is best encountered via fiction. The scrupulous novelist points out that her work depicts no actual person, (...) either living or dead; nonetheless, we use names from fiction in ways that suggest that we take these names to refer. Philosophers who investigate fiction aim to reconcile such apparently incompatible phenomena, and, in general, to account for the myriad ways that we talk, think, and feel about fiction. (shrink)

Mark Balaguer’s project in this book is extremely ambitious; he sets out to defend both platonism and fictionalism about mathematical entities. Moreover, Balaguer argues that at the end of the day, platonism and fictionalism are on an equal footing. Not content to leave the matter there, however, he advances the anti-metaphysical conclusion that there is no fact of the matter about the existence of mathematical objects.1 Despite the ambitious nature of this project, for the most part Balaguer does not shortchange (...) the reader on rigor; all the main theses advanced are argued for at length and with remarkable clarity and cogency. There are, of course, gaps in the account but these should not be allowed to overshadow the sig-. (shrink)

In the contemporary analytic philosophy of literature and especially literary theory, the paradigmatic way of understanding the beliefs and attitudes expressed in works of literary narrative fiction is to attribute them to an implied author, an entity which the literary critic Wayne C. Booth introduced in his influential study The Rhetoric of Fiction. Roughly put, the implied author is an entity between the actual author and the narrator whose beliefs and attitudes cannot be appropriately ascribed to the actual (...) author. Over the decades, this “the author’s second self,” a construct the actual author is seen to create in her act of writing, has gained an established place in literary theory. In the philosophy of literature, in turn, the implied author has evolved into multiple entities; it has been represented and developed as, for instance, “the postulated author” (Alexander Nehamas), “the fictional author” (Gregory Currie) and “the model author” (Umberto Eco). -/- The aim of this paper is to suggest that although the implied author, and its philosophical counterparts, sheds light on certain types of narratives, it is insufficient in approaches which emphasize the truth-claims conveyed by a work. In what follows, I try to show that, first, from an ontological point of view, actual assertions in literary fiction, if any, have to be attributed to the actual author and, second, that the question of truth-claiming in and by literary fiction is an epistemological matter concerning the actual intentions of the author. -/- . (shrink)

What can we learn about the world from engaging with fictional time-series--stories involving time travellers, recurring and rewinding time, and foreknowledge of the future? Do they show us radical alternative possibilities concerning the nature of time, or do they show that even the impossible can be represented in fiction? Neither, so this book argues. Defending the view that a fiction represents a single possible world, the authors show how apparent representations of radically different time-series can be explained in (...) terms of how worlds are represented without there being any fictional world which has such a time-series. In this way, the book uses the complexities of fictional time to get to the core of the relation between truth in fiction and possibility. It provides a logic and metaphysics to deal with the fact that fictions can leave certain features of their fictional worlds indefinite, and draws comparisons and connections between fictional and scientific representations and hypotheses. (shrink)

As I'm a writer, I'll begin with a story. It's not, I'm sorry to say, one of my own – I wish it were – but it is very philosophical. It's by the great blind Argentinian, Jorge Luis Borges, and it's called ‘Funes the Memorious’. Somewhere in a marshy province of Uruguay, Borges comes across a young man called Funes who has gone into an extraordinary mental state after a crippling fall from a horse. He is quite unable to forget (...) anything that has ever happened to him in his physical or mental life. He ‘not only remembered every leaf on every tree of every wood, but even every one of the times he had perceived or imagined it’ – and with exceptional vividness. In an attempt to manage this colossal burden, Funes thinks about classifying and reducing his memories to some practical order. But ‘two considerations dissuaded him: the thought that the task was interminable, and the thought that it was useless. He knew that at the hour of his death he would scarcely have finished classifying even all the memories of his childhood.’. (shrink)

In this pa per, I show that in order to gain an understanding of the facts about fiction it is more fruitful to pursue an analysis of judgment in fiction than an analysis of truth in fiction. I do so in two steps. First I take the analyses of truth in fiction which David Lewis provides in “Truth in Fiction”, which are formulated in terms of possible worlds, and provide counterpart analyses of (...) judgment in fiction, formulated in terms of (mental) models and rules for the construction of (mental) models. In the course of discussion I identify various problems for Lewis's account of truth in fiction and solve or dissolve them using the account of judgment in fiction. Second, I show that once we have an analysis of judgment which appeals to rules, we can extend the account of judgment by using Lewis's account of accommodation and resistance in “Scorekeeping in a Language Game” to ex plain the evolution of the genres of fiction, construed as systems of rules. The result is to provide a dynamic account of judgment which does justice to modern poststructuralist observations in the philosophy of literature. S. Afr. J. Philos. Vol.21(1) 2002: 63-82. (shrink)